Thanewala Gumbad, New Delhi
While reading about Delhi's monuments & heritage structures, I often come across details about structures taken over by the city's population, often demolished, at times occupied in its original state & at times renovated & turned into living quarters/shops/hospitals by changing the way the structure looked. The Red Fort was occupied by the British Army after the 1857 Sepoy Mutiny/War of Independence & several structures within the complex were razed to ground to make way for their barracks. But that was in 1857, & except for the Red Fort (refer Pixelated Memories - Red Fort), I myself never saw any structure razed/renovated. Until a few days ago that is. Some days ago, I visited the Thanewala Gumbad in South Delhi. The condition of the structure made me realize that this is what happens when the ever progressive tide of urbanization comes face to face with a structure struck somewhere in the medieval ages.
Thanewala Gumbad - First impressions
Taken over on all sides by residential areas & shops, the structure lies surrounded by the spirit of commercialization in the middle of Shahpur Jat. A suburban village, Shahpur Jat, has suddenly found its way into the books of city's nouveau rich – once a village home to Jats (an ethnic group more common to nearby Haryana), today the new lifestyle hub boasts of designer boutiques & shops selling everything from expensive collectibles, clothes, & furniture. & of course, there was also a Bikanerwala close to the gumbad (I have observed that you can find a Bikanerwala in almost every neighborhood in Delhi. They specialize mostly in sweets, but you can gobble up their pakoras (deep-fried bread filled with potatoes & cottage cheese, coated in a layer of corn flour & again deep fried) with a bottle of coke if you feel hungry after running around the numerous heritage structures that Delhi boasts of. The food is hygienic too!!). The Thanewala Gumbad today survives in the form of a large, domed chamber with its back against the shorter side of the large rectangular courtyard that encloses it.
"Aerial View"
The walls of the gumbad slightly slope towards the outside & are exceedingly unadorned. Nobody knows who built the structure, though it is accepted that the architecture is reminiscent of construction undertaken during the reign of the Khilji Dynasty (ruled 1290-1320 AD). The gumbad lacks ornamentation of any sort, a characteristic of Khilji & later Tughlaq-era buildings – both its interiors & exteriors are thread bare & the only concession to its simplicity are niches that line the bottom of the dome on the inside & the recessed, arched corners. Outside, the dome rests on an octagonal base (drum) decorated with a line of kanguras (battlement-like ornamentation work). The mihrab (the wall inside a mosque indicating the direction of Mecca, faced by Muslims while praying) is very simple, consisting of three arched recesses, the central one slightly larger than the ones flanking it.
Too simple!!
The side opposite the mihrab has three arched entrances, while the other two sides have two small arched entrances each & a blocked arched recess in the place of the central entrance. A small arched window is provided high in the centre of each side to let in sunlight. The courtyard also bears indications that there were several other structures within the complex. Only the foundations remain of what must once have been pillars on either side of the existing domed chamber, indicating the presence of cloisters. It is now accepted that the gumbad was once a mosque. A gumbad is basically a tall, domed chamber with solid walls. Cloistered chambers on either side of the said "gumbad" would fit very well with the mosque theory. Also there is no grave inside the chamber which is further proof that this is not a tomb (as most gumbads are). I don't understand why isn't it referred to as a mosque instead of a gumbad if that might be the case. Perhaps some later historian bungled up when compiling a list of structures in Delhi.
Cloister remains to the left of the central chamber
The courtyard also shows signs of arched recesses along one of the longer sides. Perhaps these alcoves were used for lightning earthen lamps, though these appear pretty large. I am tempted to believe that these were part of rooms for the priests of the mosque, or perhaps there once existed a small Islamic seminary. If that would have been the case, the mosque might have been very similar to the Khair-ul-Manazil Mosque in another part of Delhi, but in a similar run-down condition (refer Pixelated Memories - Khair-ul-Manazil Mosque). The courtyard itself was filled with all sorts of rubbish & even construction material the day I visited the gumbad/mosque. A large family picnicked in the courtyard, complete with food & even a hookah!! A washer man dried clothes nearby. Thorny bushes grew around garbage heaps. More than the interior, it is the exterior of the enclosing walls that is in dire need of protection. Along the shorter sides of the courtyard ran parallel streets. A small slum house made with bricks & corrugated iron sheets (next to the main road flanking the gumbad towards its back) used the wall as one of its sides. Towards one of the larger sides, an alley lead to a cluster of houses & showrooms. It was one of these houses that I climbed on to get an "aerial" view of the gumbad/mosque & its surroundings. The walls of these houses maintained their distance from the gumbad's enclosure, though it seemed almost hopeless, given that Shahpur Jat is a hotchpotch of buildings jutting out of nowhere & giving way only to narrow streets & almost none vegetation. Not wishing to spare any space available in this urban jungle, a buzzing generator set sat next to the courtyard wall in this alley.
Eating into the structure - A shanty & a row of houses alongside the boundary wall
Buildings on the other side were even worse, literally fusing together with the enclosure walls. One had to walk past those buildings into a side street (this one has the Bikanerwala!!) & then make a detour to reach the entrance of the gumbad/mosque. It is a pretty precarious situation that the gumbad/mosque finds itself in, surrounded by all these houses & shops, whatever happened to the Monument Notification Act (1958) that bans construction within 100 metres of a protected monument?? Perhaps the gumbad/mosque isn't a protected monument, I did not see the characteristic blue board that Archaeological Survey of India (A.S.I.) places near protected monuments. The only worthwhile thing here was that more than encroachments, the place was taken over by kids running around, playing tag here. Many of them clambered around me in a bid to get photographed along with the ruins. They jumped within the gumbad & around it too, unmindful of the pillar stubs sticking out in an ordered progression. The huge chamber boomed with their laughter & echoed back their shouts.
These cloisters exist on the right side of the structure. Visible in the background are the remains of Siri Fort wall
I would rather suggest that this surrounding courtyard be converted to a small park, similar to the park across the parking lot across the road that boasts of bastions & walls of the Siri Fort (another fortress city within Delhi, subject of another post). A gardener could be assigned here, at least this way the place would not give way to encroachments & hawkers, & even the kids would find a new spot within the congested city to run around. But then, is anyone listening??
Location: Shahpur Jat village
Nearest Metro Station: Green Park Station
How to Reach: From Green Park Metro Station, take a bus for Shahpur Jat village. Opposite the bus stop is a large park, beyond which lies a parking lot. Walk through the park & the parking lot & you will spot the dome of Thanewala Gumbad rising in the midst of shops. Navigate to find the entrance.
Entrance Fee: Nil
Time required for sightseeing: About 30 min
Relevant Links -
Pixelated Memories - Khair-ul-Manazil Mosque
Pixelated Memories - Red Fort
Posted by Pixelated Memories at 4:41 pm 6 comments:
Labels: Cloisters, Designer Showrooms, Green Park, Gumbad, Kanguras, Mihrab, New Delhi, Pixelated Memories, Sahil Ahuja, Shahpur Jat, Shops, Siri Fort, Slum, Thanewala Gumbad
Unmarked Ruins, Mehrauli, New Delhi
In a city as old as time itself, it isn't very difficult to come across remains of a world struck in a different time frame, one that is several centuries, if not millennia, behind. Delhi – "a city of cities" – was destroyed 7 times in the near medieval history & each time it was rebuilt, rising up like a phoenix from its own ashes. It has been claimed that Delhi is the city of djinns – the djinns do not like to see their city destroyed & therefore ensure that the city is revitalized after each bout of destruction. Yet unlike other places across the globe, Delhi never totally evolved into a modern mega-habitat, instead it lives on with its past – at times nurturing it to claim large swathes of land as well as popular perception. In almost every corner of the city one notices relics of the past – cultures practised as they were in the ancient past, trade taking place as it would have occurred in the court of some maharaja or sultan, & most importantly the ruins that seem to grow out of anywhere & everywhere in the city. While some parts of the city mutate into glass & cement megaliths, several still retain their medieval look & character.
This is what I spotted..
However the concept of a "City of cities" needs a bit of explanation here – as a new fortress was built by a new dynasty/ruler, the older fortress was abandoned but the city around it continued to live on. The court & the whos-who shifted with the ruler to his new abode, but the traders, merchants, artisans & craftsmen, peasants etc stayed back. The new city was referred to as "Delhi", while the older ones came to be known as "Old Delhi" (till the British formalized this system to name their Indian capital "New Delhi"). This way several separate fortress-citadel complexes continued to mushroom side by side, & today we have seven major citadels (Lal Kot, Siri, Tughlaqabad-Adilabad, Kotla Feroz Shah, Dinpanah, Shahjanabad, New Delhi) & a small capital (Kilokheri) still in existence. These constitute Delhi's history starting from somewhere even before 1000 BC when it was still ruled by Rajput Hindus, & the last is still the seat of power of Indian democracy.
Told ya, these ruins come out of nowhere!!
The oldest of these settlements – the Lal Kot in modern-day Mehrauli – was the bastion of Tomar Rajputs who ruled from the fertile plains of Punjab to the arid regions of Rajasthan & Central India. Prithviraj Chauhan aka Rai Pithor, the hero celebrated in bard songs & popular lore, expanded Lal Kot to a mega-citadel & renamed it as Qila Rai Pithor ("Rai Pithor's Fortress"). Soon afterwards, in AD 1192 India was invaded by the Islamic armies of Muizuddin Muhammad bin Sam aka Muhammad Ghuri. Several generations down the line, Mehrauli was abandoned & Siri became the capital of "New" Delhi. Mehrauli was relegated to the status of "Old" Delhi, even though the city was abandoned, people from all streams of life kept settling in Mehrauli. Its abandonment did not stamp out its existence, it only lost its status of being the royal fortress. Till as late as late 19th century, Mehrauli buzzed with life – its inhabitants included not only peasants & merchants, but also courtiers, princes & army generals. The later Mughal rulers established their palaces & pleasure gardens & built their tombs in Mehrauli.
Blossoming amidst ignorance
It was the war of 1857 that changed it all – the Indian sepoys in service of the British East India Company clashed with their superiors, great bloodshed accompanied by loss of life & livelihood on both sides followed. The British ran down the country, Delhi was laid to waste – after about a thousand years of its existence, Mehrauli was finally abandoned!! The palaces were ruined, the gardens destroyed, tombs & mosques were brought down &/or taken over. People stopped settling in Mehrauli, residents left out in droves – the first city of Delhi soon turned into a graveyard of ruins, a mish-mash of temples, tombs & step-wells.
The Qibla Wall
It is no wonder that even though Mehrauli was abandoned 150 years back, it soon started repopulating after the British departed from the country & the heart-curdling partition of India to carve out Pakistan & Bangladesh brought in a new wave of refugees from the other side of the border. As Mehrauli grew again with the rest of Delhi, it still retained its ruins in its bosom, often hiding them behind thick vegetation, at times covering them over & over with a blanket of earth. Across the service lane that connects the precariously constructed tomb of Azim Khan (Refer Pixelated Memories - Azim Khan's Tomb) to the Gurgaon-Badarpur highway, exist several ruins that are yet to be excavated. There is perhaps no record of these ruins in Government documents, they are exposed eternally to the wrath of nature & the (at times greedy, at times needy) encroachment of man. The ruins make their presence known by appearing before seekers just like Delhi's resident djinns – I noticed them as I departed from Azim Khan's Tomb. Across a wire fence that itself was torn & discontinuous, rose a pillar that resembled a Kos Minar to some extent. The Kos Minar were milestones – tall conical structures topped by a roundish knob, some even 30 metres high – placed by the emperor Sher Shah Suri across the Grand Trunk Road that he built to connect Bengal to Peshawar (Pakistan). Around the pillar existed wall portions & chambers – broken, run-down & desolate.
What fruit is this??
As I wandered into what looked like a dense forest in the middle of Delhi, I could clearly make out a Qibla wall that stretched from this pillar. A Qibla wall is an open structure, sort of like a wall existing independently, that indicates the direction of Mecca (West for Indians). The Muslims face the Qibla wall while offering their prayers. Thick trees rose like giants around the short wall & spread their arms to block out the sky, creepers hung down the branches to curtain the ruins, thorny bushes jutted out of the ground making passage extremely difficult. With birds, butterflies & huge mosquitoes for company I progressed to take in the entire scene – the Qibla wall & the said pillar, a few graves resting on the ground & a whole lot of vegetation hiding the rest of the view. Despite having stood ignored for centuries, the Qibla wall looked beautiful – its decorative indentations & alcoves preserved unnaturally. It must be centuries old, its architecture & ornamentation was simplistic (reminiscent of late-Tughlaq - early-Mughal architecture, but I am not qualified to date it) – a huge tree almost a 100 year old rose near its centre. The graves however were in a bad condition – their history forgotten, portions crumbling & tall grass growing out of them – they presented a sorry state of affairs.
In a "grave" situation
A strange, in fact dreadful, howling woke me out of my photography bout. The source of the sound seemed so near, yet it was not visible. Was it a djinn warning me to return to the modern world?? Awake from my revelry, I decided to at least inquire about the source of the sound. Across swathes of thickly vegetated land & over a thin track that meandered deeper into the forest still, I came across a row of chambers, almost in their original condition, except of course for their blackened walls & spider silk-filled alcoves. Further still was a deep gorge – a dog reared to its puppies in a corner of the chasm. It was the dog growling, its barks muffled by the long distance & echoed by its underground residence. It ran away on noticing me – further inspection revealed that it was rearing its offspring in a chamber that had caved in & turned into a pit. The surroundings of the pit were high mounds of soil & I assume that there existed adjoining chambers too but they got buried over time. More such chambers were visible around, a few could be distinguished because the soil around them had eroded to reveal buried arches that formed part of the chamber's entrance. A few chambers could only be distinguished because parts of them had collapsed along with the debris & vegetation that covered them & the holes thus formed revealed their interiors.
One of the chambers, now buried under earth & vegetation
All of a sudden I felt I had been transported to a different era altogether – this was my discovery, my Harappa. & then it was time to leave behind my Harappa – it was uncharted territory & I was afraid to go further deep into the vegetation for fear that I might lose my way. Of course now I realize I was being stupid, I just had to trace the track & follow it to the end, but since I diverted away from the track so many times in order to photograph the structures & the vegetation, I felt I won't find it again. As I returned, I noticed the spider silk & the creepers that enveloped the trees & the surrounding chambers, & they assured me that they will hide my treasure from man's greed till the next time I could return to take full stock of their existence. I now wait for the next time..
Hiding a treasure
Location: Mehrauli
Nearest Metro Station: Saket
How to Reach: After getting down at Saket Station, one can walk to Lado Serai Bus Stop. Buses are available from different parts of the city for Mehrauli & one can alight from the bus at Lado Serai stop itself. The Lado Serai stop is situated at a crossroad & Azim Khan's Tomb is visible behind the trees & the traffic.Enter the service lane leading to Azim Khan's Tomb, the ruins are situated just a few metres before the tomb on the other side of the road.
Pixelated Memories - Azim Khan's Tomb
Pixelated Memories - Feroz Shah Kotla
Pixelated Memories - Tughlaqabad Fort
Labels: Alcoves, Azim Khan's Tomb, Buried, Chambers, Destroyed, Graves, Lado Serai, Mehrauli, New Delhi, Pixelated Memories, Qibla Wall, Ruins, Sahil Ahuja, Saket, Tower, Trees
Jamali Kamali Complex, New Delhi
"Qabr mein aa ke neend aayi hai, Na uthaaye khuda kare koi"
("A blissful sleep I finally get in the grave, For God's sake, I hope no one wakes me from this")
– A verse penned by Sheikh Jamali and inscribed within the tomb
Poetry in stone - Jamali-Kamali mosque
It is a universal fact that Sufis, followers of a very tolerant branch of Islam, are one of the most unprejudiced and compassionate people. They are known to open their hearts and hearths to people of all faiths, religions, gender and identity. One fine afternoon, I sat down to talk to two kind Sufi mendicants at the Chilla of Hazrat Nizamuddin Auliya, the patron saint of Delhi and one of the most renowned Sufi saints in the country (refer Pixelated Memories - Chilla-Khanqah Nizamuddin). The two mendicants prayed for my well-being without any expectation of profit – monetary or otherwise – and one of them even contentedly offered me his meager share of lunch (which he carried in a small polythene bag) when he heard that I have been going around exploring monuments in Delhi since morning and did not eat or drink all day. So, given my attachment to Sufis, it is only natural that I am disheartened and inclined to disagree with the stories that have been doing the rounds about Jamali-Kamali complex, one of the foremost Sufi shrines in the city – that it is the residence of malicious, evil-natured djinns who have taken to terrifying disrespectful visitors. According to Islamic mythology, when Allah created the world, he fashioned humans out of clay and a similar species called djinns out of fire and smoke. These latter, invisible to all humans except those who have performed penances and are blessed with the power to talk to and at times control them, are powerful spirits – if benevolent, they could turn paupers to princes, bestow all boons and bring fertility to men and women; however, if malevolent, they are known to cause loss of property and at times even life too! We are all, of course, aware of one djinn – Aladdin's shape-shifting friend Genie in Arabian Nights. According to popular perception, the djinns at Jamali-Kamali are not so ferocious as to go to the extent of killing someone (it is accepted that they are malevolent spirits), but they have been known to appear as glowing apparitions, slap people, produce savage growling sounds, foul-smelling odours, sounds of laughter and make their presence known through the use of odd lights and/or a combination of all of these; it is also claimed that these djinns' hands are pretty small and the marks of the slaps that they administer remain for several days. But the local villagers who are well aware of the complex's history never said a word about the resident djinns, even though many of them are regular visitors to the complex to implore the Sufi to intercede with Allah to grant their wishes. What is out of my grasp is that the people who believe in djinns and spirits keep on forgetting God and his/her messiahs (I am an atheist yet I am repeatedly forced to invoke God! Oh India!) – after all, how can wicked spirits reside alongside kind-hearted Sufis? Unless of course hidden motives are at work here – several travel companies and paranormal societies have started offering night tours to the complex on the pretext of ghost-trails and are charging hefty fees from the patrons (Refer Hindustan Times article (dated Sep 10, 2012)). Smell something fishy?
Preserved - Jamali-Kamali's mausoleum and the graves of high officials of Lodi and Mughal empires around it
Derwesh Jamali was the pseudonym of Sheikh Jamal-ud-din Hamid bin Fazlu'llah Kamboh Dehlawi aka Sheikh Jalal Khan, a Sufi mystic poet-philosopher-scholar-traveller who came to India during the reign of Sultan Sikandar Lodi (ruled AD 1489-1517) and settled in Delhi. Why did he need a pen-name if he already had such an extensive name is something beyond my comprehension. The word "Jamali" has its roots in the Urdu word "Jamal" meaning beauty/elegance, while Jalal Khan means "the fiery one". He belonged to an affluent Sunni merchant family and was the disciple and son-in-law of the Suhrawardiyya Sufi Sheikh Samauddin. Prior to settling in Delhi where he lived and preached for the rest of his life, he had travelled extensively through Middle East and Central Asia. The courtyard in what is today Jamali-Kamali's complex used to be his chilla once where he practiced severe penances and preached spirituality and universal brotherhood. His story is very similar to that of his contemporary Imam Zamin, another travelling priest, who too arrived in Delhi in the reign of Sikandar Lodi and lived to see the vanquishing and collapse of Lodi Dynasty and the reigns of Mughal Emperors Zahiruddin Babur (ruled AD 1526-30) and Nasiruddin Humayun (ruled AD 1530-40 and 1555-56). But while Zamin accumulated enough wealth for himself as the officiating priest of the majestic mosque in the colossal Qutb Complex to build himself a graceful tomb adjacent it (refer Pixelated Memories - Qutb Complex and Pixelated Memories - Imam Zamin's Tomb), Sheikh Jamali became the darling of the citizens of Delhi and was soon appointed as a court poet and tutor of Persian mysticism for Sikandar's son and successor, Ibrahim. It is said that Emperor Sikandar, himself a renowned poet, often had his works corrected by him. Sheikh Jamali is also credited with writing several important works about mysticism and religion and was unanimously bestowed with the title "Khusro-e-Sani" ("Equal to Khusro"). One of his finest works was "Siyar-i-Arifin" ("The Mirror of Meanings"), a classical hagiographic account of the notable Indian Sufis of the Chishti and Suhrawardy sects and the metaphysical symbolism used by them in divine poetry. Given his unparalleled credentials, he was retained in the royal court when Babur conquered India (AD 1556) and later he became one of the favorite poets of Humayun, Babur's son and successor, who possibly was the major financial contributor to the construction of this complex since the architecture, except for minor artistic differences, is exactly identical to that of Humayun's graceful magnum Qila-i-Kuhna Jami Masjid in his majestic citadel Dinpanah/Old Fort (refer Pixelated Memories - Old Fort). It is interesting to note that while the mosque was built following the advent of Mughal rule in Delhi, the architecture largely follows the Lodi-style of construction since the Mughal rulers and administrators were still busy consolidating the empire instead of focusing on artistic-architectural and cultural developments.
"Jewel box" - One of the highly ornamented squinches within the gorgeously bedecked tomb
Kamali's identity, however, remains shrouded in mystery. The word "Kamali" itself is derived from the Urdu word "Kamal" meaning "miracle/excellent" which could apply to both male and female names and it has often been pointed that Kamali was possibly a contemporary Sufi of Jamali and they both were inseparable companions. Hearsay is that he/she was Sheikh Jamali's wife/friend/servant – a recently published fictional book ("Jamali-Kamali, A Tale of Passion in Mughal India" by Karen Chase) also claims that Jamali and Kamali were homosexual partners in a very orthodox and unremitting age and country. Perhaps that would explain why Kamali chose to be referred by this name – it perfectly rhymes with Jamali and sort of completes it. Or maybe Jamali adopted the new name, he already had so many pen-names, perhaps he took up a new one to show his association with Kamali. Nobody knows. Another theory is that the person buried alongside Sheikh Jamali is his son Sheikh Abdur Rehman Gadai Kamboh (even though his name nowhere comes close to being shortened to Kamali, but then Jamali-Kamali could well be a later, easily remembered/pronounced nomenclature. There are several similar examples scattered all over the city.), a prominent theologian and the "Sadr-i-Sadur" ("Administrative General/Lord Chief Justice") in the court of Emperor Jalaluddin Akbar (ruled AD 1556-1605). Sheikh Gadai wielded immense power during Emperor Akbar's reign and was exempted from paying homage and courtesies to the latter; he also excelled in poetic compositions, Persian mysticism and organizing musical congregations.
Stepping within the vast Mehrauli Archaeological complex, one comes face to face with the beautifully decorated but very poorly maintained enclosure walls of Jamali-Kamali complex – these are being restored as part of a massive restoration-conservation project undertaken by Archaeological Survey of India (ASI) in collaboration with Indian National Trust for Art and Cultural Heritage (INTACH). Gazing at the endearing floral and geometric patterns gracing the numerous skillfully carved alcoves lining the enclosure walls, one is forced to ponder if earthen lamps ("diyas") were once lit in these and how splendid such an ethereal scene would have been. Once visitors used a small octagonal water tank located in the center of the courtyard for purposes of ritualistic ablutions before offering praying in the mosque – the tank presently is parched and a black plastic water tank stands within it from which emerge several pipes to supply water to different parts of the large courtyard. Guards employed by ASI strolled around and inside the mosque, one had even parked his motorcycle within the courtyard.
More jewels!
The massive, soothingly serene mosque was constructed in AD 1528-29 by Sheikh Jamali himself and is composed of red sandstone sparsely, but very delicately, ornamented with white marble and grey quartzite highlights. The proportional, blackened single dome, hidden behind veils of foliage offered by the numerous ancient trees gracing the compound in front of the mosque, rests on an octagonal drum (base) and is surmounted by an inverted lotus finial. As mentioned earlier, the mosque is chronologically the earliest of this architectural layout and the same was improved upon and adopted in several mosques before finally culminating in the grandly unmatched Qila-i-Kuhna mosque in Humayun's capital (refer Pixelated Memories - Old Fort). The facade of the mosque is adorned with dexterously sculpted rosette medallions and rows of decorative alcoves while the central of the five arched entrances, each punched within arched niches, is set within a rectangular projection that is flanked by highly ornamental pillars (pilasters) on either side. These fluted pilasters possess alternate triangular and circular flutes and the individual levels are demarcated by exquisite floral bands. The utilization of impossibly hard grey quartzite for ornamentation, especially as panels focusing the exceptional symmetry of the structure, is exceedingly praiseworthy. A "jharokha" (ornamental protruding balcony) projects from above the central entrance – legend is that once lamps were lighted every evening in this window to act as a beacon to guide weary travellers to the mosque where they could rest from their fatiguing travails – alas, today the entire area has become so thickly forested and so hopelessly ignored that a lamp would not even be seen by passing visitors. But ancient Mehrauli then was a small settlement on the highway connecting Delhi to Central Asia. The jharokha, built in traditional Rajasthani style of architecture, along with the floral medallions, which are integral to Hindu artistic expression, are some of the common Hindu motifs that were later assimilated within Islamic constructions, such as mosques and tombs, and the Jamali-Kamali mosque is said to be the first to display a fusion of these distinctive architectural and artistic characteristics (the same are absent in other constructions predating the mosque). It is interesting to note that this integration occurred in a mosque commissioned by a prominent Sufi, a proponent of unity and co-habitation irrespective of fundamental religious differences.
Haunted? I doubt
The gargantuan interiors of the mosque, visually appearing even more colossal because of the numerous arches and the play of shadows and light creeping in through the windows and entrances, possesses five intricately carved mihrabs (alcoves in the western wall of a mosque indicating the direction of Mecca, faced by Muslims while offering prayers), each uniquely sculpted, bordered by bands of calligraphy inscriptions and existing in symmetric combination with one of the entrances and therefore decreasing in size from the central (largest) to the extremes (smallest). Deftly carved and beautifully ornamented, these have at present become ideal spots for fearsome hornets, who tend to get dangerously irritated if one ventures close enough, to build nests and breed. On the inside, the dome rests on squinches (another architectural tradition that later become integral to Indo-Islamic constructions – beams extending across upper corners to convert a square structure into an octagonal one) supported by honeycomb brackets which are of course fairly commonplace in Islamic architecture. The central chamber of the mosque thus becomes octagonal towards its upper reaches and more squinches are further employed to convert this eight-sided figure into sixteen-sided figure and so on to form almost a complete circle towards the very top on which the massive dome finally rests. Octagonal corner towers exist along the backside of the mosque and a narrow gallery runs along the upper floor connecting the two, but entry to the upper floors of the towers is now prohibited. One can access the towers from narrow passages built in the corners adjacent the mihrabs and gaze at the small garden towards the back or at the exterior walls on the other side. I do not understand why entry to the garden is now prohibited – a locked iron gate keeps visitors from entering from the alternate entrance way that opens to the garden. The same also prevents me from understanding why from the tower windows located level with the mosque it appears as if the garden is set at a considerably lower topography compared to the rest of the complex. I failed to find an opening within the mosque or the towers themselves from where I could descend to the garden level. But for someone who is afraid of heights and even more of openings from where one can simply topple down if careless – it is better to avoid these towers!
Lines, arches and striking symmetry - Inside the colossal mosque
The vast courtyard in front of the mosque is divided in two by a wall with an opening. The second courtyard functions as the funerary zone – the small square-shaped mausoleum of Jamali-Kamali stands close to the further wall and there are several more unmarked and unadorned graves around it – Muslims believe that the tomb of a saint sanctifies the area around it and assures ascension to heaven to the people buried in its vicinity. Not that its presence makes much difference, a rectangular "chattri" (pavilion surmounted on slender pillars) located opposite the tomb shields a lone grave from the elements. Another entrance to the tomb courtyard exists near the chattri, but even it is gated and locked now. The walls surrounding the courtyard exhibit more ornately carved alcoves, much more intricate than the ones adorning the outer walls. The refined but small tomb, only 7.6 meter square in area and so unlike other magnificent mausoleums dotting the rest of the city, was also built in AD 1529 and Sheikh Jamali himself was its architect. Bands of brilliant blue designs mark the space between the brackets that support its eaves ("chajja"); a band resembling ornamental "kanguras" (battlement-like ornamentation) marks the roof of the tomb while the walls are carved with several small niches and arches. I am dismayed to note that the wooden gate leading within the simplistic small structure is locked as a precaution against vandals. Artists and workers struggle to restore the structure to its original state and I decide to ask them if there is any way to get within the tomb. The lady in-charge of the restoration work sat nearby listening to FM radio on her mobile phone and a quick chat revealed that she had read this blog (flattered!!) and quickly sent for the caretaker to bring the keys to the tomb. If anything, the presence of so many people here in early evening was further proof of the absence of the djinns. Just on the safe side, I did take off my shoes before entering the tomb. I had always heard of how handsome the tomb is from inside and was eager to see it with my own eyes, but as soon as I stepped within, I realized that it is not just stunning but exceptionally striking, perhaps the most gorgeously decorated tomb in entire Delhi!! Rightly has it been described as a "jewel box".
Photos do the handsome interiors no justice!
Unbelievably beautiful stucco work (incised and painted plasterwork patterns) in blue, yellow and orange covers the arches and the alcoves while lattice work in marble ("jaalis") on two of the sides lets in shards of light. The western wall doesn't bear any openings but functions as a mihrab. Like the central chamber of the mosque, the tomb too makes use of squinches and the square chamber progressively becomes eight, sixteen and finally thirty-two sided towards the top. However no dome rests on the roof which is flat and decorated with copious amount of stucco and glazed tiles of numerous colors (red, several shades of blue, yellow, orange) and patterns. The tomb is the only example in Delhi where stucco and tiles are used in combination with each other rather than exclusive of each other as seen elsewhere. Again, as with the mosque, the tomb too became the inspiration for the Qila-i-Kuhna mosque which features an exceedingly marvelous use of stone inlay work instead of painted stucco/tiles to generate an equally flamboyant and vivacious exterior facade. It is interesting to note that the tomb has survived almost 500 years against the ravages of time, nature and marauders exceptionally well. Since I know I would fail to describe the ornamentation if I tried, I'll rather let photographs do the talking. Further still, a thousand words might fall short of admiring these divine patterns hence I'm posting several photos here! The walls are inscribed with two of Jamali's own verses, perhaps he was immensely enamored with his own work to have it inscribed on his final resting place while he had it constructed. The first of the two verses has been revealed in the beginning of this article and the second, the more heart rendering, goes –
"Rang hi rang, khushbu hi khushbu
Gardish-e-sagar-e-khayal hain hum"
("Colour everywhere, scent all pervasive
A movement of thought, an imagination, I am")
Of the two marble-layered graves within that occupy most of the floor area of the delicate tomb, the one in the center is that of Sheikh Jamali who passed away in AD 1536 while accompanying Emperor Humayun in an expedition to Gujarat. The second grave, a later addition since it has been just about accommodated in the space between the central grave and the wall, should belong to Kamali who is said to have expired much later. Given the excessive ornamentation of the tomb's walls, the unparalleled explosion of multihued rococo patterns on the roof and the numerous visual compositions that can be generated as a combination of the two along with the streams of light creating patterns through the openings of the marble latticework, the narrow space that one is afforded within the small tomb proves to be a photographer's paradise and after a point one begins to feel that the graves are hampering one's movement and the ability to photograph/observe these fascinating patterns! I could hear myself cursing for not coming here before!
Light and colors
As with several of the mosques I wrote about in the past few days, the mosque of Jamali-Kamali too is being threatened by religious zealots – Muslims want the mosque to be thrown open for regular prayers (Notification of Monuments Act (1958) states that if a religious place of any denomination was abandoned by the local population for prayers at the time of Govt. takeover and subsequent designation as a national/state-protected structure, no prayers would be allowed to be offered there any time in future) and have been staging impromptu and forced prayers in the premises. Hindus claim that Sheikh Jamali and Sheikh Gadai were extremely vitriolic and rabidly intolerant preacher-administrators and the mosque is actually built on their religious site and hence, as a means to correcting the injustices committed by then rulers, the area should be handed over to them (I do not know if it was actually a Hindu site or not, not that I care either). But the important fact is that it is a protected monument – where were these groups when the entire region had been forgotten and surrendered to an ignominious fate, taken over by vegetation and wildlife, and reduced to ruins? Now that the Government is restoring and renovating the place everyone wants a piece of it! Utter disrespect to the Sufis who blended the practices of the two religions to create one of the first architectural amalgams in the country – I wish the djinns would appear and slap these misguided souls out of their dreadful slumber and ignorance. On a calmer note, perhaps these verses penned by Karen in her book about Jamali-Kamali would aptly apply to these individuals who somehow conclude that religion is above the country and are content to raise issues against the secular nature of the new India we ought to build –
"…our hope is that you will pity our weeping.
How could your pardon be known, had we not shown ourselves guilty!"
Delicate - One of the mihrabs within the mosque
Location: Mehrauli Archaeological Park, just off Lado Serai crossing
Nearest Metro Station: Qutb Minar and Saket stations are both equidistant.
How to reach: Cross the road from Qutb Minar metro station and start walking towards Lado Serai – the official entrance of the archaeological complex is located midway between the two and can be identified through the slender red sandstone markers lining the periphery walls. Alternately, take a bus/auto from Saket metro station to Lado Serai and access the complex through a small opening in the periphery walls along Mehrauli-Gurgaon road just a couple of meters after Lado Serai crossing. Parking facilities are available adjacent Jamali-Kamali complex if coming through the entrance near Qutb Minar metro station.
Note – There are no facilities (toilets, food and drinking water) available within the Archaeological Park. While food and refreshments can be availed at one of the roadside eateries/shops at Lado Serai opposite, you can only find toilets at Saket metro station, over two kilometers away, or the malls beyond it. It is better to be prepared.
Other monuments within the archaeological complex -
Pixelated Memories - Balban's Tomb
Pixelated Memories - Chaumukh Darwaza
Pixelated Memories - Gandhak ki Baoli
Pixelated Memories - Khan Shahid's Tomb
Pixelated Memories - Lodi-era Canopy Tomb
Pixelated Memories - Metcalfe's Chattri
Pixelated Memories - Metcalfe's Ziggurats and Guardhouses
Pixelated Memories - Mughal tombs and Choti Masjid Bagh wali
Pixelated Memories - Quli Khan's Tomb
Pixelated Memories - Rajon ki Baoli
Pixelated Memories - Settlement ruins
Blog.tehelka.com - Article "Saanjha Chulha: The Jamali Kamali Mosque and Tomb" (dated Nov 15, 2013) by Rana Safvi
Karenchase.com - Book "Jamali-Kamali - A tale of passion in Mughal India"
Thehindu.com - Article "The ghostly trail" (dated Sep 24, 2012) by R.V. Smith
Wikipedia.org - Shaikh Gadai Kamboh
Labels: Architecture, Art work, Djinns, Haunted, History, Interiors, Jamali Kamali Complex, Mehrauli Archaeological Park, Mosque, Mughal, Paranormal activity, Sheikh Gadai Kamboh, Sikandar Lodi, Stucco, Sufi saint, Tomb
Ruins, Mehrauli Archaeological Park, New Delhi
As I mentioned in the post about Sultan Ghiyasuddin Balban's Tomb (Refer Pixelated Memories - Balban's Tomb), a large settlement, now in ruins, surrounds the Sultan's Tomb. Built around 16th-17th century, the settlement boasts of a large central courtyard with surrounding houses & quarters. I wonder who used to live here. Soldiers maybe. Or general public, if they were allowed next to the tomb of one of the most powerful rulers in Indian history. Balban actually ruled from AD 1266-86, but most of the power was concentrated in his hands even 20 years before that, when his son-in-law Mahmud ruled over the vast swathes of the Sultanate. In these houses, one notices walls with alcoves for lighting diyas (earthen lamps lighted with cotton wicks dipped in oil), pillars & portions perhaps used for keeping small knick-knack. The rooms mostly survive as only the foundations, the walls have collapsed at most of the places. In a few portions, stairs too could be seen, however whatsoever used to be around these stairs is now gone & only the alcove below it survives.
These are the ruins.. (What were you thinking, eh??)
After the mutiny of 1857, this area subsequently fell into disuse & was reclaimed by vegetation. While the rest of Mehrauli proper (part of Delhi where this settlement exists) grew at exponential phase & took rapid strides towards urbanization, this pocket was left behind & forgotten. This region is part of one of the oldest continuously inhabited region in the history of Delhi – only to be abandoned in recent past. It was as late as mid-20th century that this area was re-discovered & since India was in a turmoil then, with newly achieved independence & wars with Pakistan & China, it was left as it is, but with the tag of a heritage property under the aegis of the newly established Archaeological Survey of India (A.S.I.). It was only in the year 2001-02 that the excavation of these ruins & other structures nearby was started. The restoration work of some of the more famous & the better preserved monuments started only recently. Even now, most of these structures are in different stages of excavation.
More of the same.. (Visible in background on the left side are the remains of Balban's tomb)
The Archaeological Park actually resembles a tamed forest bereft of any wildlife, but with a trail running through it. The trail is very well marked though, there are red sandstone posts indicating clear directions to various monuments. These ruins cover a pretty extensive area, starting a few meters from the famous chattri that Thomas Metcalfe built to beautify the surrounding expanse, & are bound on one side by Balban's Tomb Complex & are cut off from the rest of the Park by the trail. Across the ruins stand the magnificent Tomb-Mosque complex of Jamali-Kamali.
It is quite easy to walk past these ruins, no proper road encompasses them, one has to get past thorny bushes & unlevelled, stony ground to view these properly. The Indian National Trust for Art & Cultural Heritage (INTACH) which is overseeing the excavation & upkeep of these fallen structures is yet to properly study them & convert this area & the park as a whole into a maintained tourist spot. But this is unquestionably one of those places where sitting down & observing things becomes the most natural thing to do. The lines of huge ants marching from here to there, & even climbing up the tumble-down stairs. The plants & creepers slowly, but gradually, overtaking the built structures. The thrill of discovering a beautiful flower. It all seems so natural here. Plastic bags, polythenes & other waste lies spread around, accumulated in this area as a result of general neglect & the gross misuse we Indians subject our heritage & forests to. This modern litter in stark contrast to this otherworldly litter of ruins that has been spread around here for so many centuries. One wonders what to photograph & what to leave. One wonders what is mighty – the rulers who left behind these colossal structures – now a mound of stones. Or the ants who simply overtook these & drilled their own palaces into these.
Amidst desolation, springs beauty..
One is reminded of the ways covered with "leaves no step had trodden black" from Robert Frost's "The Road Not Taken".
Location: Mehrauli Archaeological Park
Nearest Metro Station: Saket Station
How to Reach: After getting down at Saket Station, one can walk to Lado Serai Bus Stop. Buses are available from different parts of the city for Mehrauli & one can alight from the bus at Lado Serai stop itself. The Lado Serai stop is situated at a crossroad & at one side, one can see a large domed-structure seated on a high hill (Azim Khan's Tomb) rising high behind the trees & the traffic. Walking towards this structure, one comes to a recreational park called Ahinsa Sthal ("Abode of Non-Violence"), marked with a large signboard (or simply ask for Ahinsa Sthal from the locals & shopkeepers, check if they are aware of its location - they weren't when I visited the area in December 2012). The unmarked entrance to Mehrauli Archaeological Park is through an iron gate opposite the Ahinsa Sthal.
Note – There are no facilities (toilets, food & drinking water) available within the Archaeological Park. While you can avail food & refreshments at one of the restaurants at Lado Serai, you can only find toilets at the shopping malls close to Saket Metro Station, almost a kilometre away.
Pixelated Memories - Ahinsa Sthal
Posted by Pixelated Memories at 10:33 pm No comments:
Labels: Abandoned, Alcoves, Archaeological Park, Chambers, Isolation, Lado Serai, Mehrauli, New Delhi, Pixelated Memories, Ruins, Sahil Ahuja, Stairs
Azim Khan's Tomb, New Delhi
Though no one is exactly sure who Azim Khan was, most historians conjecture that he was a general in the army of Mughal emperor Akbar (ruled AD 1556-1605). Historical accounts state that when Akbar's valiant generals were leading his mighty armies to annex small kingdoms along the fringes of the great Mughal empire in order to further his expansionist policies, his foster brother & powerful general Adham Khan was busy satiating his own blood lust & carnal desires - he would enslave the women in the lands he captured for the Emperor & add them to his harem. His terrifying reputation preceded him - women in the conquered kingdoms preferred to commit suicide rather than face him. The kingdom of Malwa (Central India) had gained independence during the reign of Akbar's father, Emperor Humayun (ruled AD 1530-40 & 55-56). In 1561 AD, Akbar decided Malwa had enjoyed sovereignty for too long & decided to subdue it. He sent a large army led jointly by Adham Khan & General Pir Muhammad - Adham Khan invaded the kingdom under Akbar's banner but sullied the victory by refusing to send the spoils of the war to the emperor. He fell in love with Queen Roopmati, the wife of Baz Bahadur (literally "Brave Hawk"), the defeated king of Malwa. Baz Bahadur was defeated & fled the battle scene, but before Adham Khan could touch the queen, she committed suicide by jumping into a pyre ("Jauhar"). Adham Khan, in all his fury & in mood for vengeance, unleashed a pogrom - the historian Badauni who had accompanied the army to Malwa noted that the undisciplined soldiers displayed ruthlessness of an extreme order by killing captive enemy soldiers along with their wives & children - not even the Saiyyids (claiming descent from Prophet Muhammad) who had welcomed the Muslim armies were spared but burnt alive along with their holy books. Enraged, emperor Akbar himself decided to proceed to Malwa to subdue Adham Khan. This is where the lines between history & conjecture begin to blur - belief is that the emperor's massive force was led by none other than Azim Khan, the protagonist of our story. Adham was defeated, his powers curtailed for a period of time & he was ordered not to lead any military campaigns in the near future. However, strangely, most historical records & contemporary accounts are silent about the valour & the feats of Azim Khan. Following the victory, Azim was crowned with the title of "Akbar" (meaning magnificent) & rewarded by the emperor. Interestingly enough, Azim also means "the magnificent one", & I am not sure how he prefixed his name with this new title. "The magnificent among magnificent, most magnificent one"??
The Tomb of the "Most Magnificent One"
It is said that the Sufi Saint Salim Chishti met Emperor Akbar at a hill in the city of Agra & told him that if he prayed with true faith, the saint himself would come & stand next to him to ask God to grant the Emperor's wishes. Akbar's wives were finding it difficult to conceive & when a son was born to him, he considered it a blessing by the saint & named his newborn Salim after him. Touched by the saint's religious tolerance & policy of benevolence, the emperor went on to build the former's tomb (Fatehpur Sikri) near his newly envisaged capital at Agra. After Akbar's death, Azim was retained as a nobleman in Akbar's son & the new Emperor Jahangir Salim's court. Azim became a follower of Hazrat Nizamuddin who he said appeared in his dreams & urged him to give up his life of war & violence. Hazrat Nizamuddin resided in Delhi in early 14th century & belonged to the Chishtiyya order of Sufism (to which also belonged saint Salim Chishti). Following Nizamuddin's teachings, Azim started on the path of broad-minded religiosity & forbearance, giving up his earlier life as a soldier & starting in the direction of spirituality as a mendicant. After a course of some years, Azim came to be known far & wide for his penances & people started to revere him & came to him to ask for guidance as well as solutions to their problems. To prevent people from flocking to him & disturbing his peace of mind, somewhere in early 17th century Azim decided to build a residence-cum-tomb for himself atop a summit of a hill surrounded by pointed rocks & barren land. His decision to reside on the chosen hill was guided by the fact that it was accessible only to a select few because of its height & almost unscalable vertical walls, & also because it reminded him of the story of Akbar meeting Salim Chishti atop a similarly unscalable hill (the lore doesn't tell us how did Azim, Akbar & the Sufi used to climb these hills in the first place if they were so high & dangerous).
History's Mysteries - Shrine of a General??
Centuries later, when Britain converted India into one of her colonies & let its men amok on the face of the country, the British soldiers converted this tomb into a hill-top resort meant for late night partying. They would come here in groups, often with mistresses, bring along booze & servants, & make merry. Most of these parties were held at the end of the winters, before the Brits departed from Delhi to their summer capital in nearby hill city of Shimla. They took pride in displaying their climbing & physical skills to their friends & considered scaling the hill's sheer walls a mark of their strength & manhood.
After the British departed from the country, along came the Archaeological Survey of India (A.S.I.), the agency entrusted with the upkeep, protection & beautification of monuments within the country, who after initially ignoring the tomb for decades, recently decided to build a staircase leading up the hill to reach the tomb. The staircase is complete now, its wide steps have been set so as to match with the surrounding hill sides & present a picture of harmony. But still the tomb lies deserted, ignored by passer-bys as well as tourists arriving at the nearby World Heritage Site of Qutb Complex. Perhaps people still find the steep climb daunting. Whatever might be the reason, Azim Khan's Tomb would have made even Count Dracula envious were he to visit Delhi. The Count's fortress in Transylvania, covered by a thick pal of fog & chill, invites no visitor. Azim's Tomb on the other hand lies unvisited despite being in open view & visible from a very busy highway on one side (the Mehrauli-Gurgaon Road).
Inside Azim's Tomb - Too meager for Dracula??
The square tomb is pierced by entrances along its three sides, however these entrances lie perennially locked by grilles in a bid to keep out vandals/scribblers who are so numerous throughout the city. The dome, topped by an inverted-lotus finial, rests on an octagonal base (drum). The tomb walls, as well as the drum, feature kanguras – ornamentations that resemble battlements, protruding vertically. Squirrels run around the tomb, feeding at rice & nuts left for them by the caretakers/locals. An earthen bowl filled with water was kept nearby. Wild yet beautiful flowers grew on the hill side, often in tandem with thorny bushes & desert plants that inhabit such rocky & barren lands. When I visited the structure, I found the caretaker assigned by the A.S.I. asleep on one of the benches placed there for the tourists. Were he awake too, he wouldn't have been able to open the tomb for me since A.S.I. sealed off the iron-grilles barring its entrances with nuts & bolts - perhaps they felt that locks can be easily broken into. Clever chaps!! The tomb, plastered & cream-ish in colour, is now blackened because of the rains & vegetation, despite being restored just some time back by the A.S.I. The fear of the precipice surrounding the tomb ensures that not many people wander off to its rear sides, I did, & what I saw again put to shame the deeds of fellow Delhites. The walls of the tomb were defaced with graffiti & the love letters that wandering Romeos saw fit to emblazon here. I must have been there for only about 30 minutes, taking in the charm of the place, adoring the sights visible in the distance - the Qutb Minar, the tomb of Adham Khan, Mahavira statue atop Ahinsa Sthal etc, when there arrived a group of college kids with a bottle of alcohol & disposable glasses, & no marks for guessing where they decided to hang out – at the rear of the tomb!!
I feel sorry for Kishor, a worthless bastard!!
The fourth wall of the tomb, the one overseeing the most dizzying cliff-face, does not have an opening & instead its interior functions as a mihrab (wall faced by Muslims while praying, indicating the direction of Mecca). Inside, beautiful patterns cover the ornamental arches, the dome rests on a layer of small, arched alcoves meant for decoration. While there is no sarcophagus inside the tomb, two graves lie outside - the larger of these two has calligraphic inscriptions along its sides - both of them however are in a run-down condition, broken, crumbling & exposed to the fury of nature. It has been claimed that the grave inside is buried deep within the hill right underneath the chamber, though this also remains mere speculation. Strategically placed stone benches flank the graves outside.
Look what I found!!
Even today, a lot of monuments that aren't so well known, or are not deemed that high in terms of heritage &/or architectural value, are looked after by families & caretakers who live nearby (not on Govt.'s payroll). These people either consider themselves the blood family of the occupant/builder of these tombs/structures, or are religious followers & part-time priests. In the absence of Govt. funds & upkeep, these people often protect these structures from hoodlums & demolition. One such family looked after the tomb of Azim Khan but they were forced to migrate to Pakistan at the time of India's independence from British rule in 1947 & subsequent partition to create Muslim-dominated Pakistan & Bangladesh. Gone with them are all the records & the history of the inhabitant of the tomb, & no one is left to care for it & defend it from inebriated fellas & rowdy vandals. Perhaps they could have shed some light on the mysterious occupants & their lives. The tomb should have qualified as a religious spot since Azim too became a man of God later in his life, but even that is contested since the officials have not yet been able to ascertain if it is actually the tomb of Azim Khan or someone else. Perhaps it never will be found out for sure. No documentation exists for the tomb, & all the stories are actually passed down from elders to the subsequent generations in the nearby villages, & of course distortions & fantasies encapsulate the kernel of truth that these stories possess. Such is the sad state of affairs that so many heritage structures & buildings find themselves in the national capital!!
PS: If time permits, do visit the nearby Ahinsa Sthal ("Abode of Non-Violence", refer Pixelated Memories - Ahinsa Sthal). The view of Azim Khan's Tomb from the heights of Ahinsa Sthal is simply breathtaking.
The view from Ahinsa Sthal
Location: Lado Serai, Mehrauli
How to Reach: After getting down at Saket Station, one can walk to Lado Serai Bus Stop. Buses are available from different parts of the city for Mehrauli & one can alight from the bus at Lado Serai stop itself. The Lado Serai stop is situated at a crossroad & Azim Khan's Tomb is visible behind the trees & the traffic.
Pixelated Memories - Qutb Complex
Pixelated Memories - Qutb Minar
Hindu.com - Article "Renovation of mystery tomb" (dated Jun 07, 2010) by R.V. Smith
Timesofindia.indiatimes.com - Article "Passage to past: ASI builds pathway to Mughal-era tomb" (dated May 31, 2010) by Richi Verma
Traveltravailsandheck.blogspot.in - the road above my street pt 38
Re-edit - Jan 15, 2014
Posted by Pixelated Memories at 6:27 pm 17 comments:
Labels: Adham Khan, Ahinsa Sthal, Akbar, Army General, Azim Khan's Tomb, Baz Bahadur, British resort, Cliff, Graves, Hill, Mehrauli, Mihrab, Moinuddin Chishti, Mughal, New Delhi, Nizamuddin, Roopmati, Tomb
Ahinsa Sthal, New Delhi
Some 800 years ago, when Islamic armies led by Shihab-ud-din Muhammad Muizuddin bin Sam (Muhammad Ghuri) first appeared at Indian borders threatening to conquer the country, the Hindu Rajput ruler Prithviraj Chauhan assembled a huge army to face this new challenge. Valiant & indefatigable, he defeated Muhammad's forces, administering them a crushing blow in the First Battle of Tarain (1191 AD) & even capturing Muhammad himself. Magnanimous in his victory, Prithviraj treated Muhammad with all respect due to a king, & against the advice of his foreseeing ministers freed him & gave him safe passage to return to his kingdom in Afghanistan. A year later, Muhammad again amassed an even mightier army & marched once again against Prithviraj. This time around, he vanquished & chased the army of Prithviraj & his 150 brethren Rajput rulers. Prithviraj himself was captured & later killed. One by one, all the provinces in India including Tibet, Bengal, Bihar & Deccan (Central India) fell to Muhammad's marauding army looking for loot & treasure. The entire country was ravaged, its wealth & women carried away by the Afghans, a large part of the population either killed or converted to slaves, its foundations demolished & rulers humiliated. Prithviraj himself was immortalized & lionized in folklore & bardic tradition. But the country he left behind bore the brunt of the war. After converting India into his fief, Muhammad retired to his kingdom leaving his favourite slave & army commander Qutbuddin Aibak in-charge of the unruly lands of India. A fanatic Muslim & a loyal slave, Qutbuddin decided to forward the name of his master & his religion in this new land by constructing mosques & felling temples that already existed here. He fell 27 Hindu & Jain temples in Mehrauli in South Delhi & established the gigantic mosque Quwwat-ul-Islam ("the Might of Islam"). 800 years later, though the scars of this temple destruction & religious bickering are yet to heal completely, most of the citizens of this holy land have accepted, although uneasily, a life of mutual understanding & co-existence. The Jains, believers in peace & non-violence, instead of demanding that the Quwwat mosque be fell to make way for a temple of their denomination like some Hindus did, built a temple for themselves nearby. The Ahinsa Sthal ("Abode of Non-Violence") was established in 1980 close to the Qutb Complex (where the Quwwat Mosque is situated).
To peace & tolerance..
Boasting of a large statue of Mahavira (599-27 BC), the last Tirthankar (spiritual guide) of the Jain faith, seated atop a high hill & surrounded by landscaped gardens, Ahinsa Sthal comes as close to a peaceful & uninterrupted spot in Delhi as possible. The stone statue, 14 feet tall, seated on a lotus placed on a pedestal & flanked by statues of lions & ornaments-clad attendants, presents a glorious picture. Glimmering in the bright sunshine, Mahavira sits meditating about the human life & preaches a lesson of religious tolerance & universal brotherhood (Ironic after Qutbuddin's actions, right??). As one enters the compound, the guards motion one to take off their shoes & place them underneath any of the several benches placed within the garden complex. Though a notice board proclaimed that "Photography is prohibited", the guards said one can take photos as long as they do not disturb anyone else in the park. I wasn't there to disturb anyone!! Perambulating the lawns of this not-so-large garden, I noticed statues of apsaras (divine maidens) placed underneath trees & among bushes, many of them holding musical instruments, others offering tributes to Mahavira. Large painted boards, arranged alongside the larger trees along the walkways, threw light on Mahavira's life & teachings, & also the tenets & ethics of the Jain faith. I also noticed a few couples engrossed in talking to their partners seated close to the edge of the park, of course maintain their distance from each other. It is the first time I saw couples flocking to a religious spot in search of isolation & privacy. A few families, apparently in picnic mood, sat sprawled in the lawns, chatting & sharing light snacks. Eating & running about the lawns is prohibited. In the centre is the hill, visible from some distance outside the complex, but more or less hidden behind the surroundings. Of course, I saw the statue already from the heights of the adjacent tomb of Azim Khan. I climbed up the stone stairs, again marveling at the clever placement of the apsara statues (& a small, white marble cow too!!) to blend them with the flora.
Goddess amongst the bushes
The green cover is very well maintained here – ancient Indians believed that the presence of holy men could induce fertility to everything around them & make even barren land & rocky plateaus lush with plants, many people still believe that it was the Mahavira statue that actually made the hill sides go green. On the first level of the hill, one faces a clearing, stairs projecting upwards on either side & the Jain flags visible fluttering towards the top. The portion towards the opposite side of the hill (behind the stairs) is forbidden for tourists. A large bell hung from a blue nylon rope in front of a cavity in the opposite wall where a huge stone monolith & a photograph of some man were placed. The man gazes sideways as people kept coming to ring the bell. Its loud sound actually hurts the ears if one stands as close as I did!!
The monolith was sculpted to show a lioness & a cow drinking from the same vessel, while the lioness fed its milk to a calf & the cow fed a lion cub. It must have been representing justice (the weak & the strong existing together & partaking the same resources) & equality (both feeding each other's kids) - again an irony in the country. Lions were also part of the insignia of the royal family to which Mahavira belonged. He took the pledge of a solitary existence & gave up his kingdom & all his comforts when he began on the path to seek enlightenment I climbed up the stairs to reach the summit where the Mahavira statue was kept. There wasn't much to do here – a few families sat on the mats placed near the statue, again chewing chips & snacks, a few Jain pilgrims prayed near the statue, a few lighted incense sticks. More lions in the form of stone statues, & a lion head carved out into the plinth over which the Mahavira idol rested. The plinth itself is carved with certain couplets describing Mahavira's ideology. The thing that certainly put me off were the names of the patrons who contributed financially for the erection of this statue inscribed on Mahavira's seat. Seriously, why do you have to be such a show-off??
Stunning, right??
A guard looked bored sitting in the small compartment built near the rear of the level. I spent some time around, thinking what to do, photographing the statues, the people, the environs & of course standing near the railing & gazing down at the visitors coming & going. Nah, there wasn't anything much to do. I left, sort of bored & disappointed. This is a charming place no doubt, perfect for contemplation. The Jains were successful in creating a place, silent, tranquil & sacred, where meditation is possible despite the noise & fumes from the highway that passes next to it. But if you are not one up for meditation or sitting around idly, this isn't the place for you. It is more like a normal park where people go in the evenings for walk, except that there is a huge idol instead of the swings & the merry go-rounds. Off I go somewhere else then..
In service of the Lord..
How to Reach: After getting down at Saket Station, one can walk to Lado Serai Bus Stop. Buses are available from different parts of the city for Mehrauli & one can alight from the bus at Lado Serai stop itself. The Lado Serai stop is situated at a crossroad & at one side, one can see a large domed-structure seated on a high hill (Azim Khan's Tomb) rising high behind the trees & the traffic. Walk towards the tomb. Ahinsa Sthal is enroute & marked with large signboards & a huge gate.
Pixelated Memories - Quwwat-ul-Islam Mosque
Posted by Pixelated Memories at 7:33 pm No comments:
Labels: Ahinsa Sthal, Apsara, Garden, Hill, Last Tirthankar, Mahavira, Mehrauli, New Delhi, Non-Violence, Park, Pixelated Memories, Qutb Complex, Quwwat-ul-Islam, Sahil Ahuja, Statue
Mohammad Wala Mosque, New Delhi


Vikings lose Cousins to COVID list before game vs. Packers
in AP News, AP WI News Feed
By DAVE CAMPBELL
AP Pro Football Writer
The Minnesota Vikings have placed quarterback Kirk Cousins on the COVID-19 reserve list. The big blow comes two days before their most important game of the season at Green Bay. Cousins is unvaccinated. Even if he's asymptomatic, he wouldn't be able to return in time to face the Packers. The NFL recently reduced the required quarantine period to five days. The Vikings are 7-8. They are one game out of the last wild-card spot in the NFC. Sean Mannion is in line to start for Minnesota on Sunday night at Lambeau Field.
AP Top Sports News at 2:00 p.m. EST


More Features GAME OF THRONES — HOW THEY MAKE THE WORLD'S MOST POPULAR SHOW
David Benioff & D.B. Weiss
Behind the Cover
Exclusive Photos
Essential Episodes
Season 7 Theories
Game of Thrones: How They Make the World's Most Popular Show
By Daniel D'Addario/Belfast | Photographs by Miles Aldridge for TIME
The battle for Westeros may be won or lost on the back of a lime green mechanical bull.
That's what it looks like on a January Monday in Belfast, as Game of Thrones films its seventh season here. Certainly no one believes the dragons that have thrilled viewers of HBO's hit series exist in any real sense. And yet it's still somewhat surprising to see the British actor Emilia Clarke, who plays exiled queen Daenerys, straddling the "buck" on a soundstage at Titanic Studios, a film complex named after this city's other famously massive export.
The machine under Clarke looks like a big pommel horse and moves in sync with a computer animation of what will become a dragon. Clarke doesn't talk much between takes. Over and over, a wind gun blasts her with just enough force to make me worry about the integrity of her ash blond wig. (Its particular color is the result of 2½ months' worth of testing and seven prototypes, according to the show's hair designer.) Over and over, Clarke stares down at a masking-tape mark on the floor the instant episode director Alan Taylor shouts, "Now!" Nearby, several visual-effects supervisors watch on monitors.
Clarke and I talk in her trailer before she heads to the soundstage, at the beginning of what is to be a long week inhabiting a now iconic character. Behind the scenes it's more toil than triumph, though. The show's first season ended with Daenerys' hatching three baby dragons, each the size of a Pomeranian. They've since grown to the size of a 747. "I'm 5-ft.-nothing, I'm a little girl," she says. "They're like, 'Emilia, climb those stairs, get on that huge thing, we'll harness you in, and then you'll go crazy.' And you're like, 'Hey, everybody! Now who's shorty?!'"
She has reason to feel powerful. On July 16, Clarke and the rest of the cast will begin bringing Thrones in for a landing with the first of its final 13 episodes (seven to air this summer, six to come later). Thrones, a scrappy upstart launched by two TV novices in 2011, will finish its run as the biggest and most popular show in the world. An average of more than 23 million Americans watched each episode last season when platforms like streaming and video on demand are accounted for. And since it's the most pirated show ever, millions more watch it in ways unaccounted for. Thrones, which holds the record for most Emmys ever won by a prime-time series, airs in more than 170 countries. It's the farthest-reaching show out there—not to mention the most obsessed-about.
emilia clarke | daenerys targaryen
People talk about living in a golden age of TV ushered in by hit dramas like The Sopranos, Mad Men and Breaking Bad. All had precisely honed insights about the nature of humanity and of evil that remade expectations of what TV could do. But that period ended around the time Breaking Bad went off the air in 2013. We're in what came next: an unprecedented glut of programming, with streaming services like Netflix, Amazon and Hulu jumping into an ever-more-crowded fray. Now, there's a prestige show for every conceivable viewer, which means smaller audiences and fewer truly original stories.
Except for Thrones, which merges the psychological complexity of the best TV with old-school Hollywood grandeur. You liked shows with one antihero? Well, Thrones has five Tony Sopranos building their empires on blood, five Walter Whites discovering just how far they'll go to win, five Don Drapers unapologetic in their narcissism. Oh, and they're all living out their drama against the most breathtaking vistas not of this world.
kit harington | jon snow
The phenomenon is fueled by a massive worldwide apparatus that, in a typical 10-episode season, generates the equivalent of five big-budget, feature-length movies. Even as the series has grown in every conceivable way over the years—it shoots around the globe; each episode now boasts a budget of at least $10 million—it remains animated by one simple question: Who will win the game in the end? And if Thrones has taught us anything, it's that every reign has to end sometime.
1. the fiction
It all started with a book. In 1996, George R.R. Martin published A Game of Thrones, the first novel in his A Song of Ice and Fire series. (Back then, he conceived of it as a trilogy. Today, five of the planned seven volumes have been published.) As a writer for shows like CBS's The Twilight Zone and Beauty and the Beast in the late '80s, Martin had been frustrated by the limits of TV. He decided that turning to prose meant writing something "as big as my imagination." Martin recalls telling himself, "I'm going to have all the characters I want, and gigantic castles, and dragons, and dire wolves, and hundreds of years of history, and a really complex plot. And it's fine because it's a book. It's essentially unfilmable."
Photo-composite by Miles Aldridge for TIME
The books became a hit, especially after 1999's A Clash of Kings and A Storm of Swords a year later. Martin, who writes from his home in Santa Fe, N.M., was compared to The Lord of the Rings author J.R.R. Tolkien. Like Tolkien's Middle-earth, Martin's Westeros is a land with a distinctive set of rules. First, magic is real. Second, winter is coming. Seasons can last for years at a time, and as the series begins, a long summer is ending. Third, no one is safe. New religions are in conflict with the old, rival houses have designs on the capital's Iron Throne, and an undead army is pushing against the boundary of civilization, known as the Wall.
Thrones' vast number of clans includes the wealthy and louche Lannisters, including incestuous twins Cersei and Jaime. She is the queen by marriage; he helped ensure her ascendancy through violence. Their brother Tyrion, an "imp" of short stature, is perhaps the most astute student of power. Then there are the Starks, led by duty-bound Ned. His children Robb, Sansa, Arya, Bran, Rickon and "bastard" Jon Snow will be scattered throughout the realm's Seven Kingdoms. Daenerys is a Targaryen, an overthrown family that also—surprise—has a claim to the throne. Soon enough, Thrones devolves into an all-out melee that makes the Wars of the Roses look like Family Feud.
lena headey | cersei lannister
In the wake of director Peter Jackson's early-2000s film trilogy of Tolkien's masterpiece, Martin was courted by producers to turn his books into "the next Lord of the Rings franchise." But the Thrones story was too big, and would-be collaborators suggested cutting it to focus solely on Daenerys or Snow, for instance. Martin turned them all down. His story's expansiveness was the point.
Two middleweight novelists, David Benioff and D.B. Weiss, had come to a similar conclusion and obtained Martin's blessing at what the author calls "that famous lunch that turned into a dinner, because we were there for four or five hours" in 2006. The two writers thought Thrones could only be made as a premium-cable drama, and they walked into HBO's office with an ambitious pitch to do so that year. "They were talking about this series of books I'd never heard of," says Carolyn Strauss, head of HBO's entertainment division at the time. "[I was] somebody who looked around the theater in Lord of the Rings, at all of those rapt faces, and I am just not on this particular ferry … I thought, This sounds interesting. Who knows? It could be a big show."
HBO bought the idea and handed the reins to Benioff and Weiss, making them showrunners who'd never run a show before. Benioff was best known for having adapted his novel The 25th Hour into a screenplay directed by Spike Lee. Weiss had a novel to his credit too. The two had met in a literature program in Dublin in 1995 and later reconnected in the States. "I decided I wanted to write a screenplay," Benioff told Vanity Fair in 2014. "I'd never written a script before, and I didn't know how to do it, so I asked [Weiss] if he would write one with me, because he had written a bunch already." It never got made.
The Thrones pilot, shot in 2009, got off to a rocky start. Benioff and Weiss misjudged how much planning it would take to bring Martin's fantasy to life. To portray a White Walker—mystic creatures from the North—they simply stuck an actor in a green-screen getup and hoped to figure it out later. "You can maybe do that if you're making Avatar," says Weiss. "But we need to know what the creatures look like before we turn on the camera." They also had trouble portraying Martin's nuanced characters. "Our friends—really smart, savvy writers—didn't [realize] Jaime and Cersei were brother and sister," says Benioff of the ill-fated first cut. Ultimately, they reshot the pilot.
nikolaj coster-waldau | jaime lannister
When Benioff and Weiss look back at that first season, they see plenty to nitpick. Their fealty to Martin's text, for example, made Peter Dinklage's Tyrion "Eminem blond," per Benioff. (His hair was later darkened.) Still, the elements that have made the show a monster success were there—and audiences (3 million for Thrones' first season finale) picked up on them. Arguably the most groundbreaking element was a willingness to ruthlessly murder its stars. Ned Stark, the moral center of Season 1, portrayed by the show's then most famous cast member (Sean Bean, who starred in The Lord of the Rings), is shockingly beheaded in the second-to-last episode. By the third season's "Red Wedding," a far more gruesome culling, the show had accrued enough fans to send the Internet into full on freak-out mode.
Thrones had by then become the pacesetter for all of TV in its willingness to forgo a simple happy ending in favor of delivering pleasure through brutality. Even if you don't watch, Thrones' characters and catchphrases have permeated the culture (the apparent death of Snow was an international trending topic all summer in 2015). Saturday Night Live, The Simpsons and The Tonight Show have lampooned the show. And the recent South Korean presidential election was called on a national news network with depictions of the candidates duking it out for control of the Iron Throne.
2. the production
Wandering around the Belfast set, the scope and the orderliness of the enterprise is staggering. The wights, zombie-like creatures with spookily pale faces and dressed in ragged furs, form a tidy line as they wait to grab breakfast burritos. Outside the stage door, a few smoke cigarettes, careful not to ash on their worn-in tunics. "At first we had a season with one big event, then we had a season with two big events, now we have a season where every episode is a big event," says Joe Bauer, the show's VFX supervisor. Bauer and VFX producer Steve Kullback oversee a group of 14 FX shops from New Zealand to Germany that work on the show almost continuously.
One of those big events this season is a battle whose sheer scope, even before being cut together with the show's typical brio, dazzled me. In order to get on set, I agreed not to divulge the players or what's at stake. (Thrones has been promising this clash all along, and when the time comes, the Internet will melt.) It will be all the more impressive knowing that the cast and crew were shot through with a frigid North Atlantic wind that whipped everyone during filming and sent them all flying to the coffee cart during resets. (The cold, a prosthetic artist tells me, is at least good for keeping the makeup on.)
peter dınklage | tyrion lannister
The setting is as grand as the action. The battle was filmed in what was once a Belfast quarry, drained, flattened out with 11,000 square meters of concrete and painted over with a camouflage effect—all of which took six months and required special ecological surveys. This kind of mountain moving, or leveling, is par for the course for Thrones.
Each season starts with producers Christopher Newman and Bernadette Caulfield circulating a plot outline on a color-coded spreadsheet, dictating what will be shot by the show's two simultaneous camera units, which can splinter into as many as four. It's perpetually subject to change, given the complications of a television show this ambitious—over seven seasons they've shot in Croatia, Spain, Iceland, Malta, Morocco and Canada as well as locations around Northern Ireland. While I'm in Belfast, my plan to watch Jon Snow in action is canceled because of inclement weather (that same wind) that makes filming from a drone hazardous. At this point, Caulfield will grab onto any small comfort. "Now the dragon doesn't get any bigger," she says, "so we know that much."
More Game of Thrones
13 Actors Who Were Almost Cast on Game of Thrones
Every Character Who Has Died on Game of Thrones
What the 'Great War' Means for This Season of Game of Thrones
This Game of Thrones Quiz Will Prove Whether You're Ready for Season 7
See How Sansa Stark Has Changed Over Six Seasons of Game of Thrones
Another breakdown goes out to department heads, and a massive global triage begins. Costumer Michele Clapton, for example, begins figuring out if she'll have to dress any new characters or armies and then sets out on the most complex work. "I know that Daenerys' dresses will take the longest," she says. Each look, no matter the character, may take as many as four craftspeople to bead, stitch and—if there's meant to be wear and tear—break down. Deborah Riley, the production designer, begins looking for references to new locations in the outline. Tommy Dunne, the weapons master, starts forging gear for the season's big battles. "My big thing is the numbers," he says. "I hope they won't frighten me." He made 200 shields and 250 spears for last season's epic Battle of the Bastards.
sophie turner | sansa stark
Benioff's and Weiss's jobs amount to maintaining constant conversation with numerous producers. The pair are usually in Belfast for about six months a year. Wherever in the world they happen to be, they get daily video from the shoots and field an endless stream of emails from staff on location. During my visit, wolves described in the script as "skinny and mangy" showed up to the shoot looking fluffy and lustrous. Around the world, new message notifications lit up smartphone screens.
When Benioff and Weiss aren't shooting, they're writing. And when they aren't shooting or writing—which happens rarely—they're promoting. The two make a complementary pair. Benioff, who wears his hair in a Morrissey quiff, is the more sardonic one. Weiss, with silver rings in his ears, is nerdier and given to hyperbole. They say they're still having fun making Thrones, despite the stakes, and still regularly find themselves surprised by its scale. Weiss recalls seeing the buck Clarke rides to simulate Daenerys' dragons for the first time: "We knew it would be a mechanical bull. We didn't know it would be 40 ft. in the air and six degrees of motion with cameras that swirl." Says Benioff: "It's like the thing NASA built to train the astronauts."
Despite nonstop production, Weiss says, "There's still a kid-in-a-candy-shop feel. You're going to look at the armor, crazy-amazing dresses—gowns Michele is making—then you're going to look at the swords, then watch pre-vis cartoons of the scenes that will be shot and you're weighing in on shot selection. Every one of these things is something we've been fascinated with in our own way since we were kids."
"Especially dresses," cracks Benioff. Weiss adds, "Especially the gowns."
3. the players
The first few seasons' worth of swordplay and gowns turned the show's cast into recognizable stars. But it's the complexity of their characters, revealed over time, that made them into icons. "My friends always say to me, 'It's like you're two different people. I see articles about you in BuzzFeed'—but then they see my Facebook posts," says Maisie Williams, who plays the tomboy turned angel of vengeance Arya Stark. Williams was two days past her 14th birthday when the show debuted. There's TV-star famous, after all, and then there's some-percentage-of-23-million-people-has-been-actively-rooting-for-you-to-kill-off-your-co-stars-for-six-years famous.
Thrones' story doesn't ask its actors to break bad or good, and viewers stay tuned in large part because of the characters' moral mutability. Consider Cersei, played by Lena Headey, who is either a monster or a victim. The character has become more popular with fans even as she's wrought greater carnage, including blowing up a building full of people last season. "At the beginning, people were like, 'Oh my God, you're such a bitch!'" she says. "What's moving is that people love her now and want to be on her team." That Headey, a Brit, uses an exaggerated American accent as she delivers the harsher interpretation of her work is revealing of nothing, or a lot.
She's thought through every element of her character, though, including the incestuous relationship with Jaime that provided the show its first narrative jolt. "I love to talk about all of it," she says, citing her frequent emails to Benioff and Weiss. "Cersei's always wanted to be him. Therefore, for her, that relationship is completion. There's been an envy, because he was born with privilege just for being a man. I think their love was built on respect."
maisie williams | arya stark
Nikolaj Coster-Waldau, the Danish actor who plays Jaime, is a bit less excited to discuss the subject. "I've never really gone too deep into the whole sister-brother thing because I can't use that information. I have to look at her as the woman he loves and desires. Lena's a very good actress, and that's kind of what carries the whole thing." He adds, "I have two older sisters. I do not want to go there. It's just too weird."
Even a character like Jon Snow, as close to a pure hero as possible as Season 7 begins, has outgrown the box he originally came in. Snow, an illegitimate child never embraced by his father's wife, is a James Dean daydream of Sir Walter Scott. "I made mistakes and felt that he wasn't interesting enough," says Kit Harington of the way he's played Snow. We're in a Belfast hotel bar, and Harington is squeezing in a coffee before he makes an evening showing of Manchester by the Sea. "That sounds weird, but I've never been quite content with him. Maybe that's what makes him him. That angst." His character has been slowly absorbing lessons about duty and power—and "this year there is this huge seismic shift where all of what he's learned over the years, suddenly …" Harington trails off. "He's still the same Jon, but he grows up."
Dinklage, too, found in Tyrion a character who surpassed his expectations. The actor says he'd never read fantasy beyond The Lord of the Rings. "That's the part of the bookstore I don't really gravitate toward," he says. "This was the first time in this genre that somebody my size was an actually multidimensional being, flesh and blood without the really long beard, without the pointy shoes, without the asexuality."
Thrones catapulted Dinklage, the only American in the main cast, from a well-regarded film and theater actor to among the most-recognized actors on earth in part because the asexuality is quite absent. Tyrion thirsts for wine, sex and, crucially, love and respect. As the offspring of a wealthy and powerful family, the first two are easy to come by. The latter not so much. "He covers it up with alcohol, he covers it up with humor, he does his best to maintain a modicum of sanity and he perseveres," says Dinklage. "He's still alive. Anyone who's still alive on our show is pretty smart."
Indeed, with just 13 episodes left, everything is possible—alliance, demise or coronation. "Every season I go to the last page of the last episode and go backward," says Dinklage. "I don't do that with books, but I can't crack open page one of Episode 1 not knowing if I'm dead or not."
4. the drama
The size of Thrones' controversies have, at times, been as large as its following. Its reliance on female nudity, especially Daenerys', was an early flash point. "I don't have any qualms saying to anyone it was not the most enjoyable experience. How could it be?" says Clarke. "I don't know how many actresses enjoy doing that part of it." That aspect of the role has faded as Daenerys found paths to power beyond her sexuality. This evolution from a passive naïf into a holy terror who rules by the fealty of her subjects is what has earned Daenerys, according to Clarke, the audience's loyalty. "People wouldn't give two sh-ts about Daenerys if you didn't see her suffer," she says.
More controversial still has been the prevalence of sexual violence. Many of the major female characters have been assaulted onscreen. In a 2015 sequence, Sansa, the Stark daughter played by Sophie Turner, was raped by her husband. According to the logic of the show, the plot gave her character a reason to seek revenge and power of her own. It nonetheless generated substantial blowback online and clearly turned some fans away from the series for good. "This was the trending topic on Twitter, and it makes you wonder, when it happens in real life, why isn't it a trending topic every time?" says Turner, who is 21. "This was a fictional character, and I got to walk away from it unscathed … Let's take that discussion and that dialogue and use it to help people who are going through that in their everyday lives. Stop making it such a taboo, and make it a discussion."
Benioff and Weiss claim to have seen no other possible outcome for a character stranded in a marriage to a psychopath, in a skewed version of feudal society. "It might not be our world," says Benioff, "but it's still the same basic power dynamic between men and women in this medieval world. This is what we believed was going to happen." Adds Weiss: "We talked about, is there any other way she could possibly avoid this fate that doesn't seem fake, where she uses her pluck to save herself at the last? There was no version of that that didn't seem completely horrible."
Even if Benioff and Weiss don't always admit it, the show has changed. Scenes in which exposition is delivered in one brothel or another, for example, have been pared back. It's at moments like these that the success of Thrones seems a precariously struck balance, thriving on a willingness to shock but always risking going too far.
5. the end of the end
Benioff and Weiss claim to have sworn off reading commentary about the show, good or bad. When I visit them in Los Angeles in March, they're writing the next and final season. I peek into a fridge in a lounge area in their offices, a room dominated by a Thrones-branded pinball machine Weiss proudly points out, to find three cases of beer with Westeros-themed labels, low-calorie ranch dressing and yellow mustard. At this point, they have full outlines of the final six episodes. In fact, they've been working on the very last episode, possibly the most anticipated finale since Hawkeye left Korea. "We know what happens in each scene," says Weiss.
The fact that they know is remarkable considering the show will reach its conclusion long before the books. The last new Thrones novel came out in 2011, the year the show began. The author describes his next installment, the sixth of seven, as "massively late." "The journey is an adventure," says Martin, who, at 68, has fought criticism that he won't finish the books. "There's always that process of discovery for me." But with young, and rapidly maturing, actors under contract and a community of artisans awaiting marching orders in Belfast, the show can't wait.
Benioff and Weiss always knew this would happen. So they met with the novelist in 2013, between Seasons 2 and 3, to sketch out what Martin calls "the ultimate developments" after the books and show diverge. The upshot, they say, is that the two can coexist. "Certain things that we learned from George way back then are going to happen on the show, but certain things won't," says Benioff. "And there's certain things where George didn't know what was going to happen, so we're going to find them out for the first time too."
d.b. weiss and david benioff | show-runners
In preparation for Season 7, Benioff and Weiss have gotten more possessive. That has further fueled fans' curiosity even as it has created security challenges. In the run-up to Season 6, paparazzi shots of Harington—and his distinctive in-character hairdo—in Belfast tipped the Internet off that Jon Snow wasn't, in fact, as dead as he'd seemed the season before. "Look at how difficult it is to protect information in this age," says Benioff. "The CIA can't do it. The NSA can't do it. What chance do we have?"
It's also changed the on-set dynamic. Coster-Waldau says Benioff and Weiss have "become much more protective over the story and script. I think they feel this is truly theirs now, and it's not to be tampered with. I've just sensed this last season that this is their baby: 'Just say the words as they're written, and shut up.'"
Then there's the end of the end, the finale likely to air next year or the year after. Benioff and Weiss are not writing the Thrones spin-off projects HBO revealed this year that could explore other parts of Westerosi history—some, all or none of which may end up on air. In the meantime, they claim not to be worrying about the public's reaction to their ending. (Benioff says that when it comes to endgame stress, "medication helps.") Weiss says, "I'm not saying we don't think about it." He pauses. "The best way to go about it is to focus on what's on the desk in front of you, or what sword is being put in front of you, or the fight that is being choreographed in front of you."
What's currently before them seems like plenty. When I first met Clarke in Belfast, she was shooting on the back of a dragon. When I leave a week later, she's still at it. "Thirty seconds of screen time and she's been here for 16 days," the episode's director, Taylor, remarks at one point. Later on, I'd remember this moment of exhaustion when Weiss described seeing the buck for the first time. He went on to add, "It probably feels a bit less amazing to Emilia, who sits on it for eight hours a day, six weeks in a row, getting blasted with water and fake snow and whatever else they decide to chuck at her through the fans." The table with the espresso machine—just beyond Clarke's line of sight—is well trafficked.
Clarke doesn't seem bothered, though, smiling and chatting with the crew from atop the buck. As the state-of-the-art hydraulics move her into position, her posture shifts from millennial slump to ramrod straight. In an instant, she converts herself into the ruler of the fictional space around her. On cue, she looks over her shoulder with a face of marble. She casts into an imagined world some emotion known only to her. She's gazing into a future that, in the flickering moments that the story remains a secret, only she can see.
Clarke: Jean Paul Gaultier Haute Couture gown and necklace, VV Rouleaux silk flowers, Simon Harrison earrings, Dolce & Gabbana ring; Coster-Waldau: Joshua Kane jacket, Burberry shirt, Richard James scarf; Headey: Giambattista Valli Haute Couture evening gown, Dolce & Gabbana earrings; Dinklage: John Varvatos suit and shirt, Linda Bee at Grays Antiques tie pin; Turner: Gucci dress; Weiss: Dries Van Noten suit, COS shirt, Hardy Amies tie; Benioff: Hardy Amies suit, COS shirt, Burberry tie; Williams: Valentino dress; Harington: Charles Jeffrey LOVERBOY suit jacket and shirt
On the Cover: Harington, Coster-Waldau: Dolce & Gabbana suits; Clarke: Dolce & Gabbana dress and fine jewelry, Vicki Sarge choker, VV Rouleaux collar; Headey: Dilara Findikoglu dress, Garrard fine jewelry, Erdem boots; Dinklage: John Varvatos suit
Correction: The fashion credits accompanying the original version of this story misstated the jacket worn by Nikolaj Coster-Waldau. It is a Joshua Kane jacket, not a Thomas Sabo jacket.
Your browser is out of date. Please update your browser at http://update.microsoft.com
© 2020 TIME USA, LLC. All rights reserved. Powered by WordPress.com VIP